When you tell me that something is for fans of Mr. Bungle it is an easy way to get me to listen. It is also a way for me to judge a record only based on comparing it to one of my favorite bands of all time. Also, just because a band is all over the place and play 7654 styles on one record (or song) does not make them Mr. Bungle, as this is a lazy comparison. So, here we are with the new Igorrr record. Yes, it is crazy, and there is some good stuff happening on Amen, but is it Mr. Bungle mention worthy?
Well, kind of, considering two current members of Bungle play on the record, Trey Spruance and Scott Ian. Also, Igorrr is using more conventional instruments for Amen, and it makes for a different, and for me, more enjoyable listen. Martyn Clément’s guitar work is great and sounds amazing on the record, especially on the opener, Daemoni. Headbutt sounds like a Mr. Bungle title and has some of those vibes, like how the piano partners with the blast beats, but then the church choir kicks in, until it transitions into a Behemoth track, until it doesn’t, and the siren song begins. OK. Cool.
More church vibes emanate from Limbo, as I feel like I am watching one of the sequels to The Omen. Trey plays on Blastbeat Falafel and of course he does. This is a cool little funky ditty that gives me Zappa does black metal vibes. ADHD sounds like one of those Nine Inch Nails weird remix CD singles that had 42 version of Sin on it. The 12 second 2020 into Mustard Mucous has a recent Bungle but more electronic thing going on, with Scott Ian making his appearance.
Infestis is Igorrr’s version of death doom and they do it just fine. Ancient Sun is soundtrack material while Pure Disproportionate Black And White Nihilism is a little of everything I mentioned in a blender. The closer, Silence, is not that, but it is the quietest of the tracks and is more classical music than it is anything else.
I was probably not the best person to review this, but here we are. Classical Zappa Black Metal is the best I can do here. It is unique, it is out there, it is crazy, and it will not be for everyone. I am not sure the Mr. Bungle thing works here, but I get why someone might say it. 6/10
Naevus - Back Home (Dying Victims Productions) [Matt Bladen]
Despite being coming together in 1991, Back Home is actually only German band Naevus' third album.
Back in the 90's they, like so many bands in the doom genre started out a death metal act but clean vocals began to arrive and by the time their first demo arrived they had settled into the classic doom sound of Trouble, Pentagram, Saint Vitus, The Obsessed, and Black Sabbath, getting them snapped up by Rise Above Records and released their debut.
A few shifts in circumstances meant they didn't play together again until 2012, releasing a second album in 2016, from then until now the band who still have the same line up that played on that demo, have been working on this third long player Back Home. It's another record of warming, emotive doom that has familiarity with any Patrick Walker (Warning/40 Watt Sun) project along with the veterans of the genre.
Walker is an old friend of frontman Uwe Groebel so there is a strong association between the two both personally and musically, with a track such as Under A Different Sky and Ghost carrying the emotional weight on top of the thick melancholic riffs. This is the first time the band have contributed to the song writing and the collective ethos has led to the tracks having a much broader feel but still hanging on to what has given Naevus a strong following after all these years.
The fact that Uwe Groebel (vocals/lead guitar), Oliver Grosshans (guitar), Sven Heimerdinger (bass), and Mathias Straub (drums) have all been in the band since pretty much the beginning means that every part is played with maturity and cohesion that only comes from a veteran act. Classic doom full of emotion, welcome Naevus' Back Home with album three. 8/10
It’s an album that doesn’t seem to know what it wants to be, and it never recovers from that opening track. There are some good moments on here, but they are fleeting which kind of sums the week up for me. 6/10
I was probably not the best person to review this, but here we are. Classical Zappa Black Metal is the best I can do here. It is unique, it is out there, it is crazy, and it will not be for everyone. I am not sure the Mr. Bungle thing works here, but I get why someone might say it. 6/10
Naevus - Back Home (Dying Victims Productions) [Matt Bladen]
Despite being coming together in 1991, Back Home is actually only German band Naevus' third album.
Back in the 90's they, like so many bands in the doom genre started out a death metal act but clean vocals began to arrive and by the time their first demo arrived they had settled into the classic doom sound of Trouble, Pentagram, Saint Vitus, The Obsessed, and Black Sabbath, getting them snapped up by Rise Above Records and released their debut.
A few shifts in circumstances meant they didn't play together again until 2012, releasing a second album in 2016, from then until now the band who still have the same line up that played on that demo, have been working on this third long player Back Home. It's another record of warming, emotive doom that has familiarity with any Patrick Walker (Warning/40 Watt Sun) project along with the veterans of the genre.
Walker is an old friend of frontman Uwe Groebel so there is a strong association between the two both personally and musically, with a track such as Under A Different Sky and Ghost carrying the emotional weight on top of the thick melancholic riffs. This is the first time the band have contributed to the song writing and the collective ethos has led to the tracks having a much broader feel but still hanging on to what has given Naevus a strong following after all these years.
The fact that Uwe Groebel (vocals/lead guitar), Oliver Grosshans (guitar), Sven Heimerdinger (bass), and Mathias Straub (drums) have all been in the band since pretty much the beginning means that every part is played with maturity and cohesion that only comes from a veteran act. Classic doom full of emotion, welcome Naevus' Back Home with album three. 8/10
Maahes - Nechacha (Massacre Records) [Sasa]
Egyptian black metal
A German band by the name of Maahes, that takes influence of ancient Egyptian concepts within their music, have released a new album by the name of Nechacha. for lovers of early Dimmu Borgir work this is definitely a likeliness to it.
The album consists of 11 songs lasting about 57 minutes in total, this would be the bands second album, this album has a more orchestral atmosphere to it, almost like a symphonic black metal.
The album starts off with the song magic slave it is definitely different from their earlier work as this is a lot more slower and complex with the instrumentals however it makes it much more unique and distinctive from other black metal bands. The song is beautifully put together with the piano playing slowly alongside the speedy drums. The vocals still having that black metal sound and feel but having it coexist with the other instruments which are a lot more slower and atmospheric touch to it, it is Hinestly gorgeously done.
As for the lyrics they are mythical focused and explore the points of civilisations, destruction and Egyptian goddesses and gods. Most bands use the mythology as only a part of the lyrics, but Maahes has it at the centre. I love it, it is definitely a cinematic album, it is a rework of the bands original work with some of the of original concepts still part of it.
My favourite song within the album is morbid love, definitely the heaviest song within the album and the guitar solo ties it so well and would genuinely have it on repeat. The combination of heavy vocals and softer notes are usually hard to do but Maahes do it very well
I do love how it’s an ancient Egyptian style of black metal which is a lot different to what we would usually see within bands, it is definitely their signature and iconic piece, the album cover is also stunning and gives a good reflection of what the band is about as well as the vibe of the songs. 9/10
Egyptian black metal
A German band by the name of Maahes, that takes influence of ancient Egyptian concepts within their music, have released a new album by the name of Nechacha. for lovers of early Dimmu Borgir work this is definitely a likeliness to it.
The album consists of 11 songs lasting about 57 minutes in total, this would be the bands second album, this album has a more orchestral atmosphere to it, almost like a symphonic black metal.
The album starts off with the song magic slave it is definitely different from their earlier work as this is a lot more slower and complex with the instrumentals however it makes it much more unique and distinctive from other black metal bands. The song is beautifully put together with the piano playing slowly alongside the speedy drums. The vocals still having that black metal sound and feel but having it coexist with the other instruments which are a lot more slower and atmospheric touch to it, it is Hinestly gorgeously done.
As for the lyrics they are mythical focused and explore the points of civilisations, destruction and Egyptian goddesses and gods. Most bands use the mythology as only a part of the lyrics, but Maahes has it at the centre. I love it, it is definitely a cinematic album, it is a rework of the bands original work with some of the of original concepts still part of it.
My favourite song within the album is morbid love, definitely the heaviest song within the album and the guitar solo ties it so well and would genuinely have it on repeat. The combination of heavy vocals and softer notes are usually hard to do but Maahes do it very well
I do love how it’s an ancient Egyptian style of black metal which is a lot different to what we would usually see within bands, it is definitely their signature and iconic piece, the album cover is also stunning and gives a good reflection of what the band is about as well as the vibe of the songs. 9/10
Degrave - Metalithic (ShredHead Records) [Mark Young]
Closing off this selection is Degrave with Metalithic, which if online sources are to be believed is the 4th album from the Jefferson City Natives. Its not been the best week for me in terms of reviews, so here’s hoping that they can round things off nicely for me.And our survey said – nearly.
Closing off this selection is Degrave with Metalithic, which if online sources are to be believed is the 4th album from the Jefferson City Natives. Its not been the best week for me in terms of reviews, so here’s hoping that they can round things off nicely for me.And our survey said – nearly.
The opening track, Usurper Of Flame unfurls with an old school build, more akin to buzzed-up doom song that seems to take an age to really get going. But it does, popping in the speed in between lurching back to that lumbering opening pattern. Its not exactly thrilling and given that its 7 minutes long it had better do something quick or I’m skipping forward. Just as I’m about to do so a frenzied lead break springs forth, a stay of execution granted but If I’m honest I’m not feeling it at all.
Sing The Body Electric is a different proposition, a more focused build which has more bite to it and then bang they step on the gas and it’s a whole new ball game. This is more like it, more aggression that steps onwards with Every Fucking Day, which has a more of a hard rock edge than metal to it. In its defence it moves along at a good pace and the main riff is quality but I’ve got to say that its not grabbing me at all.
Lockdown reminds me of Nirvana’s Bleach, well the sound of that album as opposed to the music on it. Until they hit Slayer time with at about 2 minutes in, downpicking for fun and having a good time with it which carries on with Abort The Court, a nasty and frenzied track that keeps that momentum going. This is more like it, covering a lot of ground in its 2 minutes and 30 second run time.
Living In A Smokescreen goes to the same opera that Iron Maiden did, its opening pattern ripping along into a fire breathing beast. It’s a complete about face from them and you have got to take your hat off to them for not staying on one lane and just writing what feels good for them. Its like a different band, this has that 80’s aura to it, the way that they stitch the disparate parts together and come out with this, well I didn’t see it coming at all.
Following the bass heavy break of Ignis Accendere, they loop back to doom-tinge with Burn Up The Sky. This is all Wah and Black Sabbath, one of the best pairings since Yorke and Cole. It has the hallmarks of a smoked-out jam session that was hammered into form and is more in common with Usurper than Living In A Smokescreen. Death Is decides that it wants to have more of that metallic edge on display but the speed is lacking from what I hoped would have been a scorcher to close the album out. It just meanders along before petering out.
It’s an album that doesn’t seem to know what it wants to be, and it never recovers from that opening track. There are some good moments on here, but they are fleeting which kind of sums the week up for me. 6/10
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